Realism(s) #7, or: bolts

Hamaca paraguaya - Paz Encina, 2006, 35mm

When Jean-François Millet paints two peasants praying in a field and calls it The Angelus, the title matches the reality.

--Jean-Luc Godard & Anne-Marie Miéville, The Old Place, 1999.

The Hay Trussers - Jean-François Millet, 1850-51

- Sharon Lockhart, 2003, 16mm

The Old Place - JLG & Anne-Marie Miéville, 1999, video


Today you don't see the image, you see what the title says about it. It's modern advertising.

--JLG & Anne-Marie Miéville, The Old Place, 1999.

1 comment:

Matthew Flanagan said...

Last grab from The Old Place features Picabia's Portrait of an American Girl in a State of Nudity (1915).

Related: "At Barbara Gladstone [March - April 2003] NO was presented not simply as a movie but as a work of photographic art of equal value with the other works on display. An edition of six prints of NO was listed on sale at $30,000 per print. The idea of paying $30,000 for a print of a thirty-five-minute, 16mm film is rife with irony, even paradox. Of course, to strike a print of NO at a lab would cost a pittance compared with the sale price (though for most critical filmmakers, even established figures like Ernie Gehr or Peter Hutton, the cost of making prints causes considerable stress); and a half-hour 16mm print would rent for $50 to $100. But by refusing to strike more than a few prints, Barbara Gladstone has defied film’s heritage as a mechanically reproducible medium and has synthetically limited its distribution as a film in order to maximize its value as an artifact." (Scott MacDonald, A Critical Cinema 5, 2006, p.314).

[I fear it's the nature of NO's realism that so easily commands a price.]